The Art Gallery of Ontario (AGO) is navigating a turbulent period following the resignations of a senior curator and two members of its collections committee. This upheaval stems from a contentious vote that resulted in the decision not to acquire a video work by renowned photographer Nan Goldin, amid allegations that her comments regarding the Israeli-Palestinian conflict were antisemitic.
Controversial Remarks and Committee Decisions
Nan Goldin, an influential artist and activist, made headlines during a speech at Berlin’s Neue Nationalgalerie in late 2024, where she expressed her “moral outrage” over the humanitarian crisis in Gaza and Lebanon. Her criticisms of Israel came in the wake of the ongoing conflict, which escalated following Hamas’s attacks on October 7, 2023, that claimed the lives of 1,200 Israelis and resulted in numerous hostages.
In a bid to jointly acquire Goldin’s video work, *Stendhal Syndrome*, the AGO collaborated with the Vancouver Art Gallery and Minneapolis’s Walker Art Center. However, the AGO’s modern and contemporary curatorial committee voted narrowly against the acquisition last year, with an 11-9 decision. Internal communications reveal that some members labelled Goldin’s remarks as “offensive” and “antisemitic.” Conversely, supporters of the acquisition argued that rejecting the work on the basis of the artist’s views constituted an act of censorship.
Impact of Resignations
John Zeppetelli, the AGO’s modern and contemporary curator who championed the acquisition of *Stendhal Syndrome*, has since resigned from his full-time position following the contentious vote. Two volunteer members of the collections committee also stepped down, citing their discontent with the decision. This series of resignations highlights the profound divisions within the institution regarding the intersection of art and political discourse.
Despite the controversy, the AGO already possesses three of Goldin’s works in its collection. The gallery, which relies heavily on public funding, received approximately $26 million from government sources in its last fiscal year, predominantly from the Ontario government. Zeppetelli will remain associated with the AGO in a reduced capacity as a guest curator, working on an exhibition featuring Italian artist Diego Marcon, scheduled to open in June.
Governance Review and Future Implications
Following the fallout from the vote, AGO director and chief executive Stephan Jost initiated a governance review to address the issues that arose during the committee’s discussions. The review recommended a “reset” of acquisition processes and a clearer delineation of member responsibilities. In a statement, spokesperson Laura Quinn acknowledged the discord surrounding Goldin’s work, asserting that personal political beliefs should not influence the acquisition process.
While *Stendhal Syndrome* itself does not engage with the political themes present in Goldin’s Berlin speech, it combines her photography of historical artworks with intimate portraits of her loved ones. The title refers to the profound emotional reactions some individuals experience when confronted with significant art.
Broader Conversations on Artistic Expression
The AGO’s situation has sparked a broader dialogue about the role of political views in art curation. Zainub Verjee, executive director of Galeries Ontario / Ontario Galleries, emphasised that collections should reflect the societal realities and not merely provide a comfort zone for consensus. She warned that if institutions begin to filter acquisitions based on political litmus tests, it could undermine trust and discourage artists from engaging with them.
Stephen Borys, a former director of the Winnipeg Art Gallery, echoed these sentiments, highlighting the potential risks of allowing political considerations to influence artistic expression. He underscored the necessity of developing robust governance policies that foster open debate among committee members while respecting artistic integrity.
Why it Matters
The AGO’s recent turmoil underscores a critical juncture for art institutions grappling with the intersection of politics and artistic expression. As debates over the role of artists’ personal beliefs continue, the outcome of this controversy could have lasting implications for how galleries curate their collections and engage with the public. The ongoing dialogue about censorship, representation, and the responsibilities of cultural institutions will be pivotal in shaping the future landscape of the arts in Canada and beyond.
